It's been a quiet month for Net Neutrality. The Hill's David McCabe reports on the climate around the FCC and the telecom world as the new rules have gone into effect, noting that only one complaint has so far been filed—by San Diego-based Commercial Network Services, against Time Warner Cable.

I loved the Ms. magazine No Comment section, where they curated some of the most heinous sexist advertisements currently in circulation—and said nothing about them. Just put them out there. Since the 1970s, these dramatic micro-stories illuminated systemic violence and discrimination against women in every aspect of our American lives.

I wish I was good at No Comment. When I am confronted with media that perpetuates injustice, I tend to comment. I’m writing about a video The New York Times published today, "A Walk On the Wild (Edibles) Side".

It’s 1987 and the Israeli army is in hot pursuit of eighteen dairy cows in the town of Beit Sahour, in the Occupied Palestinian Territories. The cows are declared a threat to Israel’s national security after a group of Palestinians begin producing milk for the town’s residents. The Israeli soldiers find themselves in a game of cat-and-mouse as residents of the town work together to shuttle the cows from barn to barn. The fugitive cows of Beit Sahour become legendary and the “intifada milk,” often distributed under cover of night, is a statement of self-reliance that provides their community with alternatives to replace Israeli goods.

Recently, Indiewire released an article, “Sorry, Ladies: Study on Women in Film and Television Confirms The Worst,” in which they reported the following:

Only 12% of all clearly identifiable protagonists were female in 2014. This represents a decrease of 3% from 2013 which is a decrease of 4% since 2002.

74% of all female characters were White, 11% were Black, 4% were Latina, 4% were Asian, 3% were otherworldly, and 4% were other. Moviegoers were almost as likely to see a woman portray an alien as they were to see a Latina or Asian female character.

A couple years ago, just as I was starting my Nieman year, the “War/Photography: Images of Armed Conflict and Its Aftermath” exhibit curated by Anne Wilkes Tucker of the Museum of Fine Arts in Houston was traveling across the U.S.

Having just seen it in Los Angeles, my friend Jonathan Diamond called me. Why, he asked, when photojournalists shoot so many images on an assignment, are we limited to seeing just one or two in a newspaper or magazine? Why not showcase 10 or 20? There was, I said, no reason, other than the limitations of print.

And so The Stand started as a digital photojournalism magazine, one that would draw photographers from around the world, transcend borders by relying on images rather than text, and treat photojournalists and their work with respect.

Not long ago, it would have been unthinkable for a coalition of discontented citizens to challenge the business decisions of multinational company with a market cap of nearly $150bn and a boss who plays golf with the president. Last week it happened, and the grassroots guys won. Again.